Mount Stuart Trust is delighted to announce a solo exhibition by Whitney McVeigh this spring as part of its expanded Contemporary Visual Arts Programme featuring new work.

Whitney McVeigh reaches into the Bute Archive, traditionally the realm of a patriarchal narrative, and focuses on intimate traces of the history of women in the house.

In this show she presents curated assemblages of archive material and objects, and (following on from her recent work Divine Rules at the Getty Villa CA) a selection of books from the Mount Stuart library, together with her own open letter and texts addressed to the public reader and inscribed on brass plaques placed throughout the house.

Join Mount Stuart and Whitney McVeigh in conversation with Charlotte Rostek, Head of Collections, and Susanne Calice, Psychoanalyst and Member of the British Psychoanalytical Society, about the archive and exhibition at Mount Stuart on Saturday 16 march at 3.30pm.

18,088 Days is an installation of stones located in the Cradle of Humankind.The work explores the marking of time whilst acknowledging passed history and our connection to the land.The number 18,088 represents the number of days from birth (November 3rd, 1968) to the present day (May 12th, 2018). The stones are a metaphor for the thousands of stories we carry within that make up individual lives.

Eykyn Maclean is pleased to present Whitney McVeigh: Elegy to Nature, a solo exhibition of paintings, drawings and found objects, which will run March 20 - April 20, 2018 at their New York gallery. The publication will be accompanied by an essay, 'The Happenstance of Illumination' by Simon Schama

Whitney McVeigh is making a new installation for St.Peter’s Church, next to Kettle’s Yard.Her compelling work explores the presence of history, collective memory and the nature of mark making as a human imprint. Recent pieces have involved the juxtaposition of found objects from the past century or, in parallel, paintings and drawings concerned with the body and its image. McVeigh is currently Creative Research Fellow at University of the Arts, London. Born in New York in 1968,she lives and works in London. The artist will be discussing her work for St.Peter’s Church with Director, Andrew Nairne on Saturday 20th June at 2.30pm as part of the Castle Hill Open Day.

Selected by the Serpentine Gallery for the Extinction Marathon as part of online collaboration with 15 Folds, curated by Hans Ulrich Obrist.

Light Switch | 2014

Demolition - local studio building

On September 13th, 2014 at 2pm Whitney McVeigh photographed the demolition of a building that had been inhabited by thirty artists for six years. The GIF makes references to physical deconstruction and commercial growth through rapid imagery. It also refers to the memory held by structure and the eventual demise of a creative hub leaving an echo and imaginative resonance, a ‘flashback’ behind. The more you look, the more you see isolated industrial objects. In one of the longer frames a light switch hangs suspended, no longer a functional object, a last statement before it disappears.

*These images form part of a larger archive of images of home and remains

McVeigh has participated in 'As Before' curated by Tim Etchells at Kunstverein Braunschweig, Germany which includes more than 70 photographs donated by contemporary artists, showing themselves as children

Whitney McVeigh is in residence in Beijing in February/March 2017 with the artist Wei Ligang. Her work will be exhibed at Traum, New York 1078 Madison Avenue (82nd Street) NY 10028, New York City with Michael Goedhuis July-September, 2017

'Over a twenty-year period McVeigh has amassed a collection of ‘markers of time’ – found objects weighted by their unique patternations; tracing former lives and the once tangible relationship an individual may have had with the object. The artist acts as custodian of these ‘markers’. She isolates yet elevates the materials, entrusting them to reflect and spur philosophical understandings of history, time and memory - forming a shared language.'

Birth is a moving image oral history enquiry into how a group of women have embraced the physical and psychological changes that come with carrying and the birth of children. The work invites women at the end of their life to recount their memories to the camera. Do they ever forget birth? How does birth transform the ways in which we relate to life? The project examines birth within the context of ageing and palliative care and challenges society’s often darker associations linked to dying and ageing. The film engages with both the universal and personal; regardless of age or gender, we are all born and the narrative of birth is vital in the wider context of human history.

'Birth' was made in collaboration with St Christopher's, Pulse Films, the Royal Academy of Arts and University of the Arts, London. It has been shown at Kurashiki University of Science and the Arts (Solo exhibiton), Japan, Hazard Gallery, South Africa (Solo Exhibiton Contours) (2016) and Summerhall Edinburgh (Solo Exhibiton Language of Memory) (2015-16).

6857 Days is a new sound installation by Whitney McVeigh in which the artist counts the days of her children's lives from birth to 18. This piece is developed from the original work, presented as part of the artist’s solo-exhibition Language of Memory at Summerhall Arts Centre, Edinburgh (Dec ’15- Mar ’16).

McVeigh counts 1-6857, and 1-6671 and offers the viewer to participate in a dedication to her children’s formative years, and more importantly creates a place of communal solace. McVeigh’s recording of domestic life, in production and nature, mirrors the repetitive nature of the everyday. The work is a haunting and moving account of time that brings the sacred to the ordinary, exploring loss of childhood and the transformations within family relationships.

Artists explore and question cultural boundaries. How individuals connect or reflect to local cultures. Whitney McVeigh has created an archive through the general public inviting them to make a note and record and respond to one of four words. The act of writing and placing of the paper invites a kind of processing and letting go, becoming a form of ritual that can later be read as a collective document and an opportunity for ordinary people to place their thoughts publicly yet anonymously. The paper is from the historical archive of Kathimerini Newspaper and The New Book of Knowledge. The project references passed history and regenerative/future memory.

As a practicing artist in painting, installation and film, Whitney McVeigh is working under an interdisciplinary area of research entitled Human Fabric. Human Fabric looks at our collective identity, linking our common threads through land, our clothes, our borders, our belongings and our philosophies. The research considers the human being as vessel and carrier of stories and memories. Through found material and site-specific projects, her work alludes to the layering of time and the unseen echoes of human history.

Transformative Storytelling and the Art of Human Memory, 14th July, 1.30pm - Kurashiki University of Science and the Arts, Okayama, Japan. In conversation with Ayami Nakotani about the making of film 'Birth': Origins at the end of life

Rocking History is a performance work that invites men and women of all ages to hold and rock their arms as an act of and invitation for peace and to reflect on what it means to exist in today’s world. Through the body and movement of space in time, the viewer and those taking part, are invited to think about our collective responsibility to bring about change and positive energy to the next generation.

The LCF Forum for Design and Visual Art Practice Hub presents Whitney McVeigh for a presentation and Q & A session. Whitney will introduce her work following her recent appointment as Fellow in Creative Practice at London College of Fashion. As a practicing artist working in painting, installation and film, McVeigh’s current interdisciplinary research entitled Human Fabric looks at both personal and collective history, linking our common threads through land, our clothes, our borders, our everyday belongings and our philosophies. The research considers the human being as vessel, container and carrier of stories and memories. Through found material and site-specific projects, her work alludes to the layering of time and the unseen echoes of human histories.

The artist will contribute to a conversation at the Centre for Sustainable Fashion about expanding ideas, work and actions relating to cultures of resilience. This project, named the Culture of Resilience Project, is a two year UAL-wide initiative, the goal of which is to build a “multiple vision” on the cultural side of resilience by putting together a set of narratives, values and ideas that are coherent in that they are all based on resilient systems, but in many other aspects they are very diverse. A multiplicity of images that, like the stones of a mosaic, may generate a larger one: a mobile, dynamic, colourful vision of a resilient, sustainable civilization. Whitney McVeigh will give a short talk on her recent film and forth coming installation (spring 2015) at St Peter's Church, Kettle's Yard Museum, Cambridge.

TJ Boulting is delighted to present our summer group show, where several leading independent art and photobook publishers have been invited to curate the work of artists and photographers of interest to them. In recent years there has been a prolific amount of activity in the art publishing world, with fairs such as Offprint in Paris, specialist bookshops, organisations such as Printed Matter who established the successful New York Art Book Fair, and particularly a rise in young publishers, innovating on small budgets and producing exciting and original small-run publications, often a far-cry from the traditional models seen before in art publishing.

Children's Charity, Dramatic Need has galvanised leading artists from the contemporary art world, to create original pieces that will be exhibited and auctioned on 27th November. The works are inspired by the real life experiences of children in Rwanda and South Africa, grappling with the aftermath of war, violence and poverty. The works will be previewed by auction partner, Paddle 8 and include original work from artists including Anthony Gormley, Anish Kapoor, Jake and Dinos Chapman and Turner prize winner Rachel Whiteread. Each artist has been moved and inspired by the personal stories of children to create sculptures, drawings, photographs and paintings. The artworks will be auctioned at Victoria Miro Gallery on 27th November, 2013.

In a unique collaboration between the Berengo Studio (Venice), Venice Projects (Venice), London College of Fashion and the Wallace Collection (London), Glasstress: White Light/White Heat presents the newly commissioned work of some of today's most important contemporary artists, most of whom will be working in glass for the first time. The exhibition builds on the success of two previous Venice Art Biennale Glasstress shows (2009, 2011), with some fifty artists invited to respond to the theme of light and heat, the components of fire, the fundamental elements involved in the formation of the universe and also the essence of glassblowing. Light is integral to our perception of glass, while heat is required to shape it. The show includes some major and emerging contemporary artists including: Alice Anderson, Polly Apfelbaum, Ron Arad, Miroslaw Balka, Rina Banerjee, Fiona Banner, Loris Cecchini, Hussein Chalayan, Mat Collishaw, Tony Cragg, Tracey Emin, Paul Fryer, Stuart Haygarth, Shirazeh Houshiary, Shih Chieh Huang, John Isaacs, Michael Joo, Ilya & Emilia Kabakov, Hew Locke, Alastair Mackie, Kris Martin, Whitney McVeigh, Tim Noble & Sue Webster, Cornelia Parker, Cai Guo Qiang, Thomas Schutte, Conrad Shawcross, Meekyoung Shin, Joana Vasconcelos, Mariko Mori, Joseph Kosuth, Jason Martin, Jaume Plensa, Koen Vanmechelen. Other artists involved reflect the influence of London College of Fashion such as Lucy Orta, Charlotte Hodes, Boudicca and Helen Storey. Adriano Berengo, President of Berengo Studio, is celebrating 20 years of working with artists this year.

The show will present the work of artists who have been exploring various processes and attempting to get new results, whether they have developed their own technique or have kept in line with classical tradition of printing or drawing and who have as a result created interesting textural works. Through a salon-style installation of 2-D black and white works, the viewer will be introduced to a panel of artworks presenting a selection of various techniques such as lithography, drawing, etching, collotype, biro-drawing, digitally processed photography, screen-printing, monoprint, etc . The artists will have to share their technicality with the viewer through a “fiche technique” (fact sheet) which would describe their choice of materials, 'craftsmanship' and the different production stages. The exhibition will take place in Balzac's printing room, 17-19 rue Visconti, Paris.

On the occasion of the 55th Venice Biennale, 2013, the Gervasuti Foundation is presenting a solo project by London-based American artist Whitney McVeigh entitled Hunting Song. This constitutes a site-specific installation in one of the Foundation’s adjacent buildings, a former hospice for unmarried women dating back to the 16th century. McVeigh has created a fictional old curiosity shop with a diverse collection of objects from her own ‘collection’ interwoven with ‘found’ objects located on site at the Gervasuti Foundation. These have been carefully selected and painstakingly arranged and ordered. Her own objects have been accumulated from flea markets and junk shops on her extensive travels over the last 20 years and have a profound personal significance to her. They include an old typewriter, artefacts from Syria and Africa, old letters, diaries, ledgers, encyclopaedias, neglected photographs and tintypes from New York and numerous other books, such as a Children’s Treasure House, which all evoke deep memories for her. Some of McVeigh’s own monotypes are also integrated with the other found objects and discreetly mounted in old frames including one that incorporates the cover of a book of vintage sheet music entitled Hunting Song which also provides the exhibition’s title.

McVeigh’s installation reveals her acute observation and attention to detail in her choice and careful arrangement of objects that aptly relate to the Biennale theme, The Encyclopedic Palace. As we increasingly struggle to deal with a constant flood of information, there are continuous attempts to reconstruct memories and realities as well as to hold on to concepts and tangible objects that are considered as fundamentals. Hunting Song explores both personal history and collective memory and alludes to the layering of time and how the histories of found objects (and implicitly those of their previous owners), can transfer a sense of universality to the person encountering them. As part of the human condition we tend to collect objects in order to enhance our sense of identity and thus to feel more connected to the world.

The Gervasuti Foundation is delighted to present an artist whose work reveals a very personal archaeology and a deep affinity with the Foundation’s mission: the preservation and re- evaluation of context and cultural collective memory through contemporary practice.

The aim of the project is to raise urgent social awareness and financial support for the children who lost their parent(s) or guardians in the disaster. In order to achieve this goal, educational workshops for children and academic seminars for adults will be run. These events are in addition to the evening of charitable auction and the audience-participatory work by Yoko Ono exhibited throughout the period. http://www.nowandfuturejapan.org.uk/artist.html